IMDA Septmeber 2013 Newsletter
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Musical Traditions KS4 Music - Television Teacher's Notes
B B C Northern Ireland Learning musical traditions KS4 music - television teacher's notes Programme 4 The Uilleann Pipes “The river of gems.” Broadcast Dates Programmes are broadcast on BBC 2 in Northern Ireland on Thursday mornings from 10.50- 11.20am. Programme Title Broadcast Date 1 The Pipe Band 9th November 2 The Harp 16th November 3 The Metrical Psalm 23th November 4 The Uilleann Pipes 30th November Programme 2 – The Uilleann By Eithne Vallely Learning Objectives: At the end of the programme pupils will have: • Developed an awareness of the history and development of the uilleann pipes. • Learned about the complexity and challenges that this instrument presents for the performer. • Listened to performers, including top professional musicians as well as amateur musicians and learners. • Learned about the history of the pipes and the contribution of the 18th century Co. Armagh pipemaker, William Kennedy. • Learned about various aspects of traditional music performance, formal and informal. About the Programme This programme introduces us to uilleann piping through interviews with and performances by professional and amateur pipers. The pipers discuss their feelings about the instrument, its attraction for them and the challenges it presents for the creative musician. Close-up Þ lming of classic pipe tunes enable viewers to see how the chanter is played and the way in which the melodies are ornamented and developed. The role of uilleann pipes over 200 years of music- making is analysed. Its early function of accompanying social dancing is illustrated through the work of 18th and 19th century painters. The impact of the travelling pipers on the dissemination of the music is explained. -
Annual Report and Audited Accounts of Na Píobairí
ANNUAL 2016 REPORT Contents Chairman’s Report 2 CEO Report 4 Secretary’s Report 7 Draft Minutes of 2016 AGM 8 Review 11 Executive, Board and Patrons 25 Audited Accounts 27 Acknowledgements 55 Jackie O’Riley dances to Joey Abarta’s piping at the Ace & Deuce of Piping concert Front cover: Peter Browne playing at the Ace & Deuce of Piping concert Annual Report 2016 1 the uilleann pipes and cleared the way for NPU to engage in and complete the application process Chairman’s Report and prepare a detailed case as to why we should obtain recognition under the Convention. Well done to all who were involved in putting together our impressive submission. We look forward to a successful outcome towards the end of 2017. IS FÉIDIR LE NA PÍOBAIRÍ UILLEANN tuairisc a Our seventh International Uilleann Piping Day was held during the year in over 50 locations thabhairt ar bliain eile de ghníomhaíocht ar aon dul lenár gcus- worldwide. This year funding was secured to allow pipers travel from Ireland to participate in póirí agus ár “Sharing the Sound Strategy 2014-2018”. Is easpa several of the overseas events. Well done to all who contributed to this success by participating, maoinithe an phríomhchúis nach bhfuil dul chun cinn á bhaint co-ordinating or organising in some way. amach ar roinnt de na spriocanna a leagadh amach i 2014. Publications launched during the year were Piper’s Choice Vol. 9 (featuring Pat Mitchell, Na Píobairí Uilleann can report on another year of consider- Seán McKeon and Kevin Rowsome) and Music for the Irish Pipes, a collection of 221 piping tunes able activity in line with our objects and our Sharing the Sound from Joe Doyle. -
A Field Guide to Irish Music
A Field Guide to Irish Music Rosanne Santucci Table of Contents Table of Contents ............................................................................................................. 2 About Irish Music .............................................................................................................. 3 Guitar Chords ................................................................................................................... 7 Where to Listen ................................................................................................................ 8 Where to Learn ............................................................................................................... 10 Tunes .............................................................................................................................. 11 About This Book I wrote this out of sympathy for anyone who’s interested in playing Irish traditional music but has no idea where or how to start; in other words, someone like me as of a few years ago. I didn’t know what a session was like, and I didn’t understand why tunes sounded painfully lame when I played them verbatim off the page. One lazy summer day, I Googled “Boston Irish session” and found out about the early session at the Green Briar in Brighton. After mustering up my courage, I showed up and sat there, ears open and flute in my lap, every week for months until the tunes started to sink in and I saw what other players did to breathe life into them. Gradually I branched out to other sessions, -
Chapter 3 Passing on the Tradition ______(1) AA Pages 43-48 Learning Music by Osmosis
Chapter 3 Passing on the Tradition _______________________________________________________________________ (1) AA Pages 43-48 Learning Music by Osmosis The authors again point out that people and place are central to Irish traditional music making. In the context of learning the music, then, where one learns music, from whom, what one learns, and in what setting are very important considerations. 1. Read carefully the description of how Mary MacNamara absorbed music as a child (pp. 43-5). a. Name all the places where she remembers learning music. b. Name all the people from whom she learned. c. Compare how Mary learned accordion with how Junior Crehan learned the fiddle (review pp. 10-13) in the same area several decades before that. d. If Mary was growing up in Clare today, how might she learn the music? 2. Now read the story of how Kevin Crawford learned traditional music (pp. 46-8). a. Where was Kevin raised? b. How did come to learn traditional music? c. How was his experience of growing up with the music similar to and different from Mary MacNamara’s? d. Through an internet search, learn about the group Lúnasa, the traditional ensemble in which Kevin performs. 3. Think of a time when you picked up music simply by being around people. Perhaps it was a song you learned on the playground, one from an elder at home, in church, at an extended family gathering, or in a community setting. Use these guiding questions to create a description of that setting. a. Where were you when you learned the song? b. -
HUP! 1 the Presence of Virtuosity in Irish Traditional Music
HUP! 1 The Presence of Virtuosity in Irish Traditional Music Kieran McCarthy Fell University of North Carolina at Chapel Hill Faculty Mentor: Brooks de Wetter-Smith University of North Carolina at Chapel Hill ABSTRACT In April 2013, I designed a research project to explore connections between classical flute playing and Irish traditional music. I hoped to discover if learning traditional flute and under- standing its surrounding musical culture could positively affect my classical flute studies. The information I collected provided the basis for this paper, in which several parameters for the term “virtuosity” are defined and analyzed in relation to Irish traditional instrumental music. These parameters were chosen using articles from scholarly journals that examine characteris- tics of virtuosity beyond exceptional technical facility. Such characteristics include a perform- er’s emotional impact, musical creativity, and the ability to think critically about his or her music. Additional aspects of virtuosity that were considered were: recognition from others in the field of Irish traditional music; the presence of competition; the dedication necessary to be considered an authority capable of expanding the musical style; and the performance longevity as an individual or group to influence the genre for an extended period of time. irtuosity was first defined toward the end Such traits might be viewed as contradictory Vof the seventeenth century as an excess to virtuosity, if one acknowledges only the of natural proficiency that sets one apart from Merriam-Webster Dictionary definition, but others in his or her field2. A standard defini- virtuosity has been analyzed through many tion today is “great ability or skill shown by a lenses. -
The Music of Ireland: Traditional and Contemporary 75608 ENIR 395, 01, 3 Credits; 75607M U SI291, 01, 3 Credits
University of Montana ScholarWorks at University of Montana Syllabi Course Syllabi 9-2013 MUSI 291.01: The uM sic of Ireland - Traditional and Contemporary Patrick C. Williams University of Montana - Missoula, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: https://scholarworks.umt.edu/syllabi Recommended Citation Williams, Patrick C., "MUSI 291.01: The usicM of Ireland - Traditional and Contemporary" (2013). Syllabi. 637. https://scholarworks.umt.edu/syllabi/637 This Syllabus is brought to you for free and open access by the Course Syllabi at ScholarWorks at University of Montana. It has been accepted for inclusion in Syllabi by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. All students must practice academic honesty. Academic misconduct is subject to an academic penalty by the instructor and/or disciplinary sanction by the university. All students need to be familiar with the Student Conduct Code, available for review online atwww.uint.edu/SVA/VPSA/Index.cfm/page/1321 IRISH STUDIES The Music of Ireland: Traditional and Contemporary 75608 ENIR 395, 01, 3 credits; 75607M U SI291, 01, 3 credits Tentative Schedule for Fall Semester, 2013 Wednesday Evenings, 6-9 p.m., Rm. 105, Music Building Professor Patrick C. Williams, Rm. 106, Ext 4471 Required texts: Irish Traditional Music,Gearoid O hAllmhurain (UC Bookstore) FOCUS: Irish Traditional Music,Sean Williams (UC Bookstore) Course Description The Music of Ireland: Traditional and Contemporaryis designed as an introductory- level survey of instrumental and vocal music, along with dance, presented within (and without) the cultural history of the country, and communities of the Irish diaspora in Europe and North America. -
ONLINE IRISH MUSIC INSTRUMENT COURSES Covering 14 Irish Traditional Music Instruments Plus Song
OAIMNLINE ACADEMY OF IRISH MUSIC ACADEMY SYLLABUS ONLINE IRISH MUSIC INSTRUMENT COURSES Covering 14 Irish traditional music instruments plus song. New Courses added regularly, checkCourses Page for full listing. Includes direct link to Course Page for more information. www.oaim.ie SUITABLE NUMBER LINK TO COURSE FOR WHO IS THIS COURSE NAME INSTRUMENT TUTOR COURSE DESCRIPTION OF ON COMPLETION PAGE FOR MORE ABSOLUTE COURSE FOR LESSONS INFORMATION BEGINNER Your tutor Kirsten Allstaff will guide you every step of the way. First, you will learn how to hold the instrument, proper hand & finger posture and good basic technique, which are all important basics to By the end of the course, the This course is aimed at the get right before you move on. Then, there is a learner will have a repertoire of absolute beginner whistle progressive study of scales, articulation and seventeen popular Irish session player. Tin whistle Basics is Tin Whistle Basics Whistles Basics Tin Whistle Kirsten Allstaff Yes ornamentation with relevant exercises throughout, 17 tunes, the ability to play cuts, Course Page an excellent starting point all learned through the tutor’s precise choice of taps and rolls as well as a for any aspiring Irish tunes for the appropriate level of ability. The 'Whistle deeper understanding of the musician. Basics' course will equip the beginner whistler with Irish music tradition. the necessary rudiments to begin a journey down the long and adventurous road of Irish whistle playing. The techniques recapped in this course include: cuts, Due to popular demand, By the end of the course you taps, slides, the breath, articulation and Easy Tin Whistle Session will have a repertoire of 15 easy rolls. -
Comhaltas: Honouring Ireland's First Lady of Concertina
Honouring Ireland's First Lady of Concertina By Cecilia Nic Dhomhnail In August this year, the West Clare town of Kilrush will host traditional musicians, singers and dancers from all over Ireland and abroad, who will gather to pay homage to Ireland’s First Lady of Concertina Music, Mrs. Elizabeth Crotty, whose celebrated name continues to stand guard over the town’s Market Square. Thirty seven years after her death in December 1960, Mrs. Crotty is still a revered figure among Irish traditional musicians on both sides of the North Atlantic. A pioneer of the fleadh cheoil movement, a host to the travelling piper, and an encyclopedia of tunes for the music collector, she is particularly remembered as a kind and unassuming lady who always made time to mentor and encourage younger musicians. At summer schools from North Carolina to Miltown Malbay her music is still being passed on today to a new wave of concertina enthusiasts by Clare concertina masters who have inherited the unique reputation she created for Clare’s tiny hexagonal instrument. A MEETING OF OLD FRIENDS AND BROADCASTERS. The weekend school will convene on Friday August 15 and continue until Sunday evening August 17. Dr. Ciaran MacMathuna, whose distinguished career in broadcasting began with a rare series of recordings made in Crotty’s in the 1950’s, will perform the official opening on Friday evening. This will be followed by the Mrs. Crotty Memorial Lecture in Kilrush public library presented by Dr. Gearóid Ó hAllmhuráin of the University of San Francisco. The evening will conclude with a series of traditional music sessions at various venues throughout the town. -
Identity and Authenticity in Irish Traditional Music Elizabeth Graber Lawrence University, [email protected]
Lawrence University Lux Lawrence University Honors Projects Winter 3-2015 The rI ish Experience: Identity and Authenticity in Irish Traditional Music Elizabeth Graber Lawrence University, [email protected] Follow this and additional works at: https://lux.lawrence.edu/luhp Part of the Celtic Studies Commons, Education Commons, Ethnic Studies Commons, Ethnomusicology Commons, Music Education Commons, and the Musicology Commons © Copyright is owned by the author of this document. Recommended Citation Graber, Elizabeth, "The rI ish Experience: Identity and Authenticity in Irish Traditional Music" (2015). Lawrence University Honors Projects. 71. https://lux.lawrence.edu/luhp/71 This Honors Project is brought to you for free and open access by Lux. It has been accepted for inclusion in Lawrence University Honors Projects by an authorized administrator of Lux. For more information, please contact [email protected]. Lawrence University Honors Project The Irish Experience: Identity and Authenticity in Irish Traditional Music Elizabeth Graber Lawrence University Ethnic Studies/Ethnomusicology February 11, 2015 Advisor: Sonja Downing 2 Introduction Brogan’s Pub buzzed with energy on a Tuesday night in August. A group of musicians formed a circle around a reserved table in the corner and chatted while they took out their instruments—three fiddles, a guitar, a bouzouki, a concertina, two bodhráns [bæwr nz] and a harmonica—and bought drinks at the bar. A Hawaii-born flutist who lived in Ennis recognized my case and invited me to join the session. I sat between the flutist and a bodhrán player from Baltimore who’d spent eight consecutive summers in Ireland. After a few sets, an Irish fiddler invited a young Swedish woman sitting by the wall to take out her fiddle and join the circle, now much larger than the small table that had been reserved for musicians. -
TT Introduction
This is an excerpt from The Essential Tin Whistle Toolbox, by Grey Larsen. All pages of this document © 2004 Mel Bay Publications. To purchase the book, and for more information, click here, or go to http://www.greylarsen.com/store/catalog/product_info.php?cPath=25&products_id=26. Introduction WHAT IS THIS BOOK? This is a book about learning to play traditional Irish music on the tin whistle. It is a book for the beginner and novice, but also for the intermediate player who may have already been playing for some years. The book starts with the beginner’s first approach to the instrument and proceeds, step by step, to provide a wealth of information and guidance, examples and exercises, mapping out a route to genuine competence as a player of traditional Irish music. The journey includes very thorough instruction in the Irish ornamentation techniques known as cuts, strikes, slides, long rolls, and short rolls. The book also offers a brief look into the history and development of the tin whistle in Ireland and a thorough ori- entation to traditional Irish music for tin whistle players. It does not cover the rudiments of music notation or ear training. Section 1 features an orientation to traditional Irish music, briefly visits the history and development of the tin whis- tle in Ireland, explores everything having to do with holding, fingering, and sounding the instrument, supplies guid- ance and encouragement in practicing, and takes the first of two looks at the parallels between music and spoken lan- guage. In Section 2 I share my insights into ornamentation. -
Annual Report 2017 1 Groups to Meet on a Regular Basis Throughout the Year and Has Showcased the Instrument to New Chairman’S Report Audiences
ANNUAL 2017 REPORT ACCESS EDUCATION PERFORMANCE PRESERVATION Contents Chairman’s Report 2 CEO Report 4 Secretary’s Report 6 Draft Minutes of 2016 AGM 7 Review 11 Executive, Board and Patrons 25 Audited Accounts 27 Acknowledgements 55 Joseph Byrne playing at a summer garden party at Áras an Uachtaráin Cover: Tom Klein playing at the Tionól in May Annual Report 2017 1 groups to meet on a regular basis throughout the year and has showcased the instrument to new Chairman’s Report audiences. Well done to all who contributed to this success by participating, co-ordinating or organising in some way. Volume 10 in The Piper’s Choice series was published during the year (featuring Joey Abarta, Robbie Hannan and Gay McKeon). Other work done during the year will see more publications AGUS MUID AG TABHAIRT faoin gcéim dheireanach den come to fruition in 2018. “Sharing the Sound Strategy 2014-2018”, ba bhliain ghnóthach In addition to the weekly classes in Henrietta Street, NPU continued the regular teaching of agus rathúil eile é do Na Píobairí Uilleann. Le casadh agus tea- pipes in Drogheda, Dundalk, Portlaoise, Gurteen, Sligo Town, Letterkenny, Childvision, Gaoth gasc na bpíob chun tosaigh, chríochnaigh an bhliain – díreach Dobhair, Derry and commenced new classes in Enniskillen. roimh chomóradh 50 bliain ár mbunaithe - le haitheantas Each year we draw on the considerable goodwill that we have built up over many years and we idirnáisiúnta ar phíobaireacht uilleann ó UNESCO. must acknowledge that a lot of hard work was necessary to achieve this standing and never take As we approach the final stage of our “Sharing the Sound it for granted. -
Irish Traditional Music and Re- Traditionalisation at the Willie Clancy Summer School
Provided by the author(s) and NUI Galway in accordance with publisher policies. Please cite the published version when available. Title Locating the centre: Irish traditional music and re- traditionalisation at the Willie Clancy Summer School Author(s) Commins, Verena Publication Date 2013-05-01 Commins, Verena. (2013). Locating the centre: Irish traditional Publication music and re-traditionalisation at the Willie Clancy Summer Information School. In Méabh Ní Fhuartháin & David Doyle (Eds.), Ordinary Irish life: Music, sport and culture (pp. 114-127). Dublin: Irish Academic Press. Publisher Irish Academic Press Link to publisher's https://irishacademicpress.ie/product/ordinary-irish-life-music- version sport-and-culture/ Item record http://hdl.handle.net/10379/15558 Downloaded 2021-09-25T21:46:16Z Some rights reserved. For more information, please see the item record link above. LOCATING THE 8 CENTRE: IRISH TRADITIONAL MUSIC AND RE- TRADITIONALISATION AT THE WILLIE CLANCY SUMMER SCHOOL VERENA COMMINS !e Willie Clancy Summer School is the foremost school for Irish traditional music transmission and practice in the annual Irish traditional music calendar. !e particular success of the Willie Clancy Week (as it is more commonly referred to) is the result of a synergy of factors, the reverberations of which resonate in a dialectical exchange with the wider community of Irish traditional music practice. In this essay, two inter-related factors which contribute signi"cantly to the production of cultural authority at the school are considered: Firstly, transmission, and the re-traditionalisation of the processes of transmission at the school and secondly, peripherality and how the location of the school, in the west of Ireland, is a constitutive element in legitimating this re-traditionalising process.